Video game has become over the years an essential media in the creation of fictional worlds. These digital realms offer interactive and immersive experiences that transform the way we consume these worlds.
This paper revisits a concept from Fan Cultures (Hills 2002): ‘hyperdiegesis’. I defined the term there as a textual quality inciting fans’ involvement in cult media.
The general question addressed is whether fan culture can--as oral-derived epic at its best--be the means of real political and ethical innovation. The participative nature of both fan culture and oral tradition invites this parallel.
Inhabiting a narrative ecosystem is a distributed and diversified experience, that generate participation, urging for new consumption. Narration does not have a unique irradiation centre anymore, but it tends to develop along different routes.
La communication vise à interroger les problèmes méthodologiques et épistémologiques que pose l’observation sociologique du panorama audiovisuel contemporain.
Jay David Bolter’s article “Transference and Transparency: Digital Technology and the Remediation of Cinema” identifies a “cyberphobia” that emerged in films of the 1990s, just as digital technologies were gaining widespread acceptance in the industry (and, indeed, as blockbusters increasingly began to rely on them to create theretofore unimaginable spectacle
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